"A statue is a work of art—in this case, designed by a remarkable artist who relied heavily on history and the views of the top historians. Her art does not, nor is it meant to, depict an actual historical moment. "Furthermore, placing a statue of Literary Walk comes with many restrictions and obligations. The design must harmonize with the other statues there; it cannot represent an entire movement; it must be allegorical; the subjects must be from the 19th century."In the above comment, which appeared in a New York Daily News editorial by Brewer, she alluded to the recent criticism raised by civil rights scholars and leading local academics that likely played a big role in the commission’s decision to postpone the motion. In August, a group of 20 experts asked the Fund in a letter to reconsider putting Truth alongside Susan B. Anthony and Elizabeth Cady Stanton, over the fear that the representation could “obscure the substantial differences between white and black suffrage activists.” Despite this, Bergmann revealed a new rendering of the statue at the meeting that included Truth standing over a table where Anthony and Stanton sat. The suffragists’ scroll that was featured in the original design was removed and an inscription at the bottom of the pedestal now reads “Women’s Rights Pioneers.” Hyperallergic reported that in an effort to address the critics’ concerns, Bergmann told the PDC she used body language and facial expressions to convey the tensions that might have been going on between the three women at the time of their discussions. For the commission and those who signed the letter, that wasn’t enough. Jacob Morris of the Harlem Historical Society co-wrote the letter and issued another statement at the meeting, asking the Fund to place a plaque on the statue to give further historical context should this design move forward. In addition, landscape architect Signe Nielson, chair of the PDC, told Bergmann and the Fund that they will need to provide the approval letters and address some minor “aesthetic concerns” before next month’s meeting. Pam Elam, president of Monumental Women, told amNewYork that the team expected these results, saying, “it’s just another delay.” Over the next few weeks, members of the academic community and other stakeholders expect to be more thoroughly involved in the second redesign. Todd Fine of the Washington Street Historical Society, one of the signees in attendance on Monday, tweeted that though historians might accept the redesign, "the problem is the lack of outreach and the secrecy."
Posts tagged with "Monuments":
“If Sojourner Truth is added in a manner that simply shows her working together with Susan B. Anthony and Elizabeth Cady Stanton in Stanton’s home, it could obscure the substantial differences between white and black suffrage activists, and would be misleading.”That’s an excerpt from a letter sent to the Fund that was signed by 20 leading academics on African American history and black culture, including professors from Barnard College, NYU, Brown, and Yale, among others. Leslie Podell, creator of “The Sojourner Truth Project” signed as well. They noted that while Truth did have a relationship with Stanton and Anthony and that they did all attend the May 1867 meeting of the Equal Rights Association, it’s not actually known whether or not they all were at Stanton’s house at the same time. It was previously announced that the design of sculptor Meredith Bergmann, which featured just Stanton and Anthony, was approved as the official suffragette statue by the Public Design Commission (PDC) if the Fund made an effort to acknowledge women of color and their role in the movement in a future project. A model of the statue is now on view at the New York Historical Society through August 26. Though the addition of Truth to the piece shows that leadership behind the project is listening, their move feels less than transparent to some. Hyperallergic spoke with Todd Fine, president of the Washington Street Advocacy Group and co-organizer of the letter with Jacob Morris of the Harlem Historical Society. He said he’s confused as to why the nonprofit didn’t include an image of the new proposal with the public statement. That would have given people the opportunity to weigh in on the final product before it was presented to the PDC. According to the article, the Fund has already submitted the new idea. Those in opposition don't want the process to be rushed, or that a new design be chosen in haste. Either way, the piece is expected to be placed in Central Park one year from next Monday, so a dialogue to redesign it must begin now. And the signees want to talk.
“We believe that there may be elegant ways to memorialize the full scope of the suffrage movement to incorporate these challenging differences,” the letter reads, “but they will require careful consideration, explicitly including black community voices and scholars of this history.”
Dr. Helen Rodríguez Trías St. Mary’s Park, Bronx Dr. Helen Rodríguez Trías was a lifelong public servant and pediatrician dedicated to advancing reproductive rights, and HIV/AIDS care and prevention, as well as serving communities of color. Her many leadership positions, from serving as the medical director of the New York State Department of Health’s AIDS Institute to being the first Latinx director of the American Public Health Association (APHA), allowed her to make a significant change to not only the medical landscape in New York City but across the country. In 2001, President Bill Clinton presented Rodríguez Trías with the Presidential Citizens Medal. Katherine Walker Staten Island Ferry Landing, Staten Island As the keeper of the Robbins Reef Lighthouse in New York Harbor for over three decades, Katherine Walker helped rescue about 50 sailors from shipwrecks during her tenure. She was appointed to the position in 1890 by President Benjamin Harrison after her husband died. Born in Germany, she immigrated to the United States just eight years before taking on the monumental task of overseeing all maritime movements in the Kill Van Kull, a shipping channel between Staten Island and Bayonne, New Jersey. According to She Built NYC, the new monuments will be commissioned through the Department of Cultural Affairs’ Percent for Art process, which means community input will be at the core of the artist selection and design processes. The search for the individual artists is expected to begin at the end of this year with the fully-built statues coming online between 2021 and 2022.
So thrilled my personal shero, Dr. Helen Rodriguez-Trias, will be honored w #SheBuiltNYC statue #intheBronx. Every time I enter my conf room I draw inspiration from Puertorriqueña pediatrician focused on better health outcomes for women of color & their families. #PublicHealth pic.twitter.com/fdRLyXirN8— Oxiris Barbot (@DrOBarbot) March 7, 2019
Council Member Cornegy’s move to commemorate Chisholm’s work is part of a community cultural initiative aimed at highlighting people of color who’ve specifically influenced the Brooklyn neighborhoods of Bedford Stuyvesant, where Chisholm grew up, and northern Crown Heights. This statue, unveiled in a maquette, will be designed by renowned artist Sterling Brown, Jr., in conjunction with the Crown Heights North Association. It’s set to be installed by July 2019 in Brower Park by the Brooklyn Children’s Museum, a two-mile walk from the larger, Olmsted Vaux–designed Prospect Park. Hers will be one of four statues that honor some of the community’s iconic leaders. Once erected, Chisholm’s monuments will make her the city’s fifth female figure to be memorialized in bronze or stone. The Department of Parks announced in August that suffragette leaders Elizabeth Cady Stanton and Susan B. Anthony will receive a statue together in Central Park next fall.
“As Brooklyn’s Backyard, we are deeply honored to welcome this important monument to a true Brooklyn hero, Shirley Chisholm,” said Sue Donoghue, president of Prospect Park Alliance. Full story: https://t.co/KuraIK8e2O#SheBuiltNYC pic.twitter.com/KDd6w0qGXw— Prospect Park (@prospect_park) November 30, 2018
The Museum of Transgender Hirstory & Art (MOTHA) is dedicated to moving the hirstory and art of transgender people to the center of public life. The Museum insists on an expansive and unstable definition of transgender, one that is able to encompass all transgender and gender-nonconforming art and artists. MOTHA is committed to developing a robust exhibition and programming schedule that will enrich the transgender mythos by exhibiting works by living artists and honoring the hiroes and transcestors who have come before. Despite being forever under construction, MOTHA is already the preeminent institution of its kind.The artists participating in The Stonewall Re-Memorialization Project take MOTHA’s subversive wit into the contemporary political climate, one in which trans communities are again both under attack and fighting back. President Trump recently announced that he is considering reversing rules protecting the 1.4 million Americans who identify as transgender, while at the same time a historic amount of LGBTQ candidates are running for office and are poised to hold greater political power. Trans entertainers and performers are achieving recognition even as transgender people in the U.S. are being killed in record numbers. “There were always limitations in accepting and inclusion," Vargas said. “This political moment has highlighted the limitations.” Monuments have become a particular flashpoint in the U.S.'s fraught political climate, and Vargas says that he began the Stonewall project questioning the role of monuments. "I went into it with a real critical lens, but to be honest, I’ve become more understanding of the importance they play…There’s a way they can evolve over time." Vargas cited the influence of the work of the artist Isa Genzken, whose Ground Zero sculpture series imagined for the World Trade Center site in New York City a series of kaleidoscopic churches and discos instead of drab office towers. Like Genzken's sculptures, the Stonewall proposals embrace messy emotionality and exuberant vitality over orderly construction. The carnivalesque approach reflects the overall strategy for MOTHA, a roving institution that Vargas says will never have a permanent physical home. “At the heart of my approach to this project is an acknowledgment that once you start you canonizing, once you start making an official history, you have to start policing boundaries of what is or isn't considered transgender, and I don't think the identity category lends itself to that approach." Vargas added, "I don’t think it makes sense to have a traditional institution…It makes sense to have it exist as an evolving parasitic entity.” Which is not to say that Vargas wouldn’t want architects to imagine what a home for MOTHA could look like. “It’s been a dream of mine to have an architectural design competition for the institution,” Vargas said. Architects, take note. Consciousness Razing—The Stonewall Re-Memorialization Project will be on view at the New Museum in New York City through February 3, 2019.